W. M. PÜHRINGER´S PROJECT FOR THE DESTROYED `OLD BRIDGE OF MOSTAR´


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W.M.Pühringer has been engaged since twelve years with the extreme project PEACE CONNECTION MOSTAR 3000. Puehringer, founding member of the Viennese group of architects Zünd up, has designed a complex sculpture to be installed temporarily on the old bridge of Mostar in Bosnia-Herzegovina. This project is located in one of the most sensitive places in the Balkans, serving as a catalyst for a lively discussion about the processing of the Yugoslav conflict and has received the highest attention in the entire Balkan region.

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Following text by: Thomas Hirsch / Düsseldorf  

The starting point of the sculpture is the grief over the war in former Yugoslavia, the destruction of the Bridge on November 9, 1993 as the very symbol for it. Pühringer articulates his sympathy for the war-afflicted population. His respect also includes the architectural accomplishment of the `Old Bridge´ built by the Turkish architect Hajrudin in 1566 as the most famous Osman cultural monument on the Balkans.
Omnipresent in photos, postcards as well as in mini-articles the Bridge before its destruction was listed as world-cultural-heritage. Spanning 28 metres it is one of the widest bridges of its time. It is also an expression of international understanding and interhuman relationship. The topos of the bridge itself stands for vivid trade, connections, travels, communication – connotations which affect Pühringer´s draft extensively.
In retrospect of the violent destruction of the Bridge and in view of the re-erection in 2003/04 it becomes obvious not to just stick to a (however meaningful) reconstruction. Moreover the breach in history but also the event of the war should be manifested in an appropriate form. W. M. Pühringer´s concept takes all that into account not questioning the reconstruction of the stone-bridge itself but taking it as the basis for his draft. That is to say that his work mounted over the stone-bridge is by all means dismountable. Analogous to his former works Pühringer starts from a skeleton-construction with stretched-out limbs of stainless-steel.

 

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The individual struttings are held together, resting on one another. To one side the construction tapering gaining height like an arrow thus protruding over the bridge-construction. A horizontal rail fastened in its lower region on its bearing surface on the river-side backs the transversal supports and keeps the soaring at a minimum. It stands for clarity and linking to the ambience.
The construction itself is covered by lightly arched, gridded surfaces, which define the passage over the bridge as populated, even as a market-place, maybe as adjustable and telescopic.
As a matter of fact Pühringer´s draft offers the possibility of motion. A wheel-connection and additionally a piston, which seems to be movable in both directions, suggest the bridge to be lifted up in the middle. Pühringer obscures the language but not the possible pictures of war. He uses polished metal so that the peaking of the bridge retains the notion of a missile. His draft, however, and even more so stands for a setting-out, a new beginning. Light reflects on metal, the entire construction stands for sturdiness. The strutting may seem vulnerable yet above all it possesses something long-lasting. The piston itself may be symbolic for a strenuous effort, as well as a controlled, rational procedure. It hints at a counter-movement.

 

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W. M. Pühringer mounts the construction over the stone in such a way that it remains partly visible. Old and new – even old and new methods of construction – are linked together. They even reconcile water and sky. Pühringer´s draft deals with the awareness of time and history so that it can also be interpreted as a sign of hope for the future.
The issues of W. M. Pühringer´s work have been the inclusion of the human being´s progressive yet critical thinking, accepting the speed of our time. The dialogue between society and habitat are thus promoted and demonstrate the humane dimension of Pühringer´s skills.

 

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